MENTAL TRANSITION, THE SURPRISING, DRAMATIC MOVEMENT OF mind in which one's moral and intellectual premises no longer bear weight of external fact, mutate into quite other premises, and challenge has been thought to be one's essential character, constitutes action of Wordsworth's The Borderers. For Wordsworth it also described his mental crisis and, he believed, crisis of other young Englishmen in 1790s. Even if (or rather because) critics have not agreed on quality or direction of (is it toward or away from solitariness, toward or away from nature, toward or away from self-consciousness, self-understanding, freedom), their conflict collects considerable textual evidence for equivocal quality of transition and incertitude and lack of finality that entails. (1) Until recently, political dimension of this incertitude, always about to be recognized because of Wordsworth's own mention of French Revolution in 1842 and 1843 notes to play, has been confined mainly to considerations of Wordsworth's relationship to William Godwin or to general references to time Wordsworth spent in France and to oppressive political atmosphere he experienced in England during 1790s. In past ten to fifteen years, however, historicist endeavors have developed detail necessary to illuminate Wordsworth's own explicit connection between what I had observed of in character & reflections I had been led to make during time I was witness of changes through which French Revolution passed, (2) on one hand, and his rhetorical and dramaturgical choices in play, on other hand. (3) In this essay I plan to show how Wordsworth rhetorically emplaces several notorious legal cases of 1790s in his play, making specific crises of political justice carry explanatory weight of mental crisis and engaging epistemological implications and dramaturgical problems of representing this crisis. Studying play from this point of view raises again question of Wordsworth's relation to and view of history. Early described as poet of imagination and transcendence, in escape from history and confines of mortality, then socialized and historicized and, in sense, activated as participant in history, Wordsworth still presents site of contradiction and debate. In Alan Liu's Wordsworth: The Sense of History, Wordsworth senses history as discontinuity and trauma, force that tears and breaks everyday being that it must suddenly be `thought' in first place (57), but in James Chandler's earlier working out of Wordsworth's affinities with Edmund Burke, poet evidences friendly feeling toward habit as second nature and toward history as cultural continuity and epistemological assurance. (4) As first move, and one that informs Liu's thesis, Chandler's position could make history in this sense compensation for and solution to experience of history as trauma. But it follows from recent article by Anne-Lise Francois, connecting Wordsworth's valuation of second nature with Hume's epistemology of custom and habit, that this solution harbors potential irony because of equivocal qualities of custom and habit. (5) Francois observes that Hume escapes from skeptical doubts entailed in his epistemology by adopting natural mode of thinking from common life, valorizing uncritical return to has been impressed by a slow process of familiarization, the cumulative significance, acquired over time, of things that may initially appear of little moment (142). While for Hume this process remains almost unconscious, is so continuous that it is not felt as change (153), and thus turns assimilation of authority into gentle force, revolutionary romantics like Wordsworth felt nervous about authority blindly admitted to power by this involuntary operation of memory, the capacity for unwanted, unconscious forces to invade and become part of inner life (159). …
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